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Modernism’s Opposite: John Galsworthy and the Novel Series

Levay, Matthew

Modernism/modernity (Baltimore, Md.), 2019-09, Vol.26 (3), p.543-562 [Periódico revisado por pares]

Baltimore: Johns Hopkins University Press

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Título:
Modernism’s Opposite: John Galsworthy and the Novel Series
Autor: Levay, Matthew
Assuntos: 20th century ; Aesthetics ; Allusion ; British & Irish literature ; Childlessness ; Contemporary literature ; English literature ; Epic literature ; Exegesis & hermeneutics ; Fate ; Fiction ; Galsworthy, John (1867-1933) ; Hardy, Thomas (1840-1928) ; Literary canon ; Literary characters ; Literary criticism ; Literary devices ; Literary history ; Literary influences ; Literature ; Logic ; Modernism ; Narrative techniques ; Narratives ; Narratology ; Novels ; Palimpsests ; Plot (Narrative) ; Publishing ; Publishing industry ; Readers ; Short stories ; Time ; Writers
É parte de: Modernism/modernity (Baltimore, Md.), 2019-09, Vol.26 (3), p.543-562
Descrição: [...]any vertical expansion of the modernist canon marks more than a straightforward effort at inclusivity—an attempt to identify more modernists—and instead reflects a critical self-scrutiny that exposes the processes by which the label of “modernist” is either extended or withheld. According to Richard Altick, serialization yielded innumerable benefits for nineteenth-century consumers, not least of which was the fact that the practice of serializing longer works “spread the cost of a book over a long period, thus appealing to the great body of middle-class readers who could afford to spend a shilling every month but not to lay out a cool guinea or a guinea and a half at a time.” According to Lawrence Rainey, “[b]y the decade 1900–1910 . . . the polarization between ‘high’ and ‘low’ literature had firmly crystallized, and the modernist project issued its claim to aesthetic dignity by repudiating that Victorian literature, above all fiction, that had sold itself to a mass reading public.” In both cases, the work of art becomes a bellwether of time’s progression, an object whose role and function transform in light of the public’s reaction to it. Because the fate of Jolyon’s work corresponds to the ebb and flow of his reputation, and the modern paintings that Soames studies reflect emerging trends in contemporary art that will, in a few years, become conventional and perhaps even passé, both situations demonstrate how an aesthetic object—a painting or a novel—remains at the mercy of its audiences.
Editor: Baltimore: Johns Hopkins University Press
Idioma: Inglês

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Modernism’s Opposite: John Galsworthy and the Novel Series

Levay, Matthew

Baltimore: Johns Hopkins University Press

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